A mile is a unit of length, most commonly 5,280 feet (1,760 yards, or about 1,609 metres). The mile of 5,280 feet is sometimes called the statute mile or land mile to distinguish it from the nautical mile (1,852 metres, about 6,076.1 feet).^[1] There have also been many historical miles and similar units in other systems that may be translated into English as miles; they have varied in length from 1 to 15 kilometres.

The exact length of the land mile varied slightly among English-speaking countries until an international agreement in 1959 established the yard as exactly 0.9144 metres, giving a mile of exactly 1,609.344 metres. The United States adopted this international mile for most purposes, but retained the pre-1959 mile for some land-survey data, terming it the US survey mile. In the US, statute mile formally refers to the survey mile, about 3.219 mm (⅛ inch) longer than the international mile (the international mile is exactly 0.0002% less than the US survey mile).

Use of the mile as a unit of measurement is now largely confined to the United Kingdom^[2], the United States^[3], and Canada.^{[4][5][6][7][8][9]}

Etymology[link]

The word mile originally derives from the Old English word mīl which in turn was ultimately derived from the Latin word millia meaning "thousand".^[10] The English mile is derived from the Latin mille passuum (one thousand paces) but in other countries the word "mile" (meile in German, mijl in Dutch) was derived from the Latin miliarium spatium (one thousand "intervals").^[11]

Various historic miles/leagues from a German textbook dated 1848 (given in feet, metres and fractions of a meridian

Roman mile[link]

The Romans were first to use the unit of long distance mille passuum (literally "a thousand paces" in Latin, where each pace was two steps). It denoted a distance of 1,000 paces or 5,000 Roman feet, and is estimated to be about 1,479 metres (1,617 yards). This unit, now known as the Roman mile,^[12] spread throughout the Roman Empire, often with modifications to fit local systems of measurements.

Historical miles in the Arabic world and Europe[link]

• The Arab mile (or Arabic mile) was a unit of length used by medieval Muslim geographers. Its precise length is uncertain, but is believed to be around 1925 metres.^{[citation needed]}
• The Danish mil (traditional) was 24,000 Danish feet or 7532.5 metres. Sometimes it was interpreted as exactly 7.5 kilometres. It is the same as the north German Meile (below).^[13]
• The Meile was a traditional unit in German-speaking countries. It was 24,000 German feet; the SI equivalent was 7586 metres in Austria or 7532.5 metres in northern Germany. There was a version known as the geographische Meile, which was 4 Admiralty nautical miles, 7,412.7 metres, or 1/15 of a degree of latitude.^[14]
• The Hungarian mile (magyar) mérföld was the traditional unit in Hungary, equal to 8353,6 m (old times sometimes varied between 8937,4 m and 8379,0 m)
• In Norway and Sweden, a mil is a unit of length equal to 10 kilometres and commonly used in everyday language. However in more formal situations, such as on road signs and when there is risk of confusion with English miles, kilometres are used instead. The traditional Swedish mil spanned the range from 6000-14,485 metres, depending on province. It was however standardized in 1649 to 36,000 Swedish feet, or 10.687 km.^[13] The Norwegian mil was 11.298 kilometres. When the metric system was introduced in the Norwegian-Swedish union in 1889, it standardized the mil to exactly 10 kilometres.^[13] Mil is still commonly used when measuring fuel consumption in vehicles; e.g., 0.5 litre per mil.
• The Portuguese milha was a unit of length used in Portugal and Brazil, before the adoption of the metric system. It was equal to 2087.3 metres.^[15]
• The Russian milya (русская миля) was a traditional Russian unit of distance, equal to 7 verst, or 7.468 km.
• The hrvatska milja (Croatian mile) is 11,130 metres = 11.13 km: the length of an arc of the equator subtended by 1/10 of a degree,^[16] first used by Jesuit Stjepan Glavač on a map from 1673.
• The banska milja (also called hrvatska milja) (mile of Croatian Ban, Croatian mile) was 7586 metres = 7.586 kilometres, or 24,000 feet (the same as the Austrian mile).^[17]

Historical miles in Britain and Ireland[link]

The statute mile (1593) of Elizabeth I was not the only definition of the mile in Britain and Ireland. Perhaps the earliest tables of English linear measures, Arnold's Customs of London (c. 1500) indicates a mile consisted of 8 furlongs, each of 625 feet, for a total of 5000 feet (1666⅔ yards, 0.947 statute miles, 1524 metres):^[18] this is the same definition of the mile in terms of feet as used by the Romans. The "old English" mile of medieval and early modern times appears to have measured about 1.3 statute miles (1.9 km).^[19] The 17th century cartographer, Robert Morden, had multiple scales on his maps—for example, his map of Hampshire showed two different miles that had a ratio of 1 : 1.23^[20] and his map of Dorset had three scales with a ratio of 1 : 1.23 : 1.41.^[21] In both cases, the smallest mile appears to be the statute mile.

Scots mile[link]

The Royal Mile in Edinburgh is roughly a Scots mile long.

The Royal Mile in Edinburgh, i.e., from the Castle down to Holyrood Abbey, is approximately the same length as the Scots mile.^[22] English miles were imposed in 1824 by an Act of Parliament.

Equivalent to:

• Scottish measures: 320 falls; or 8 Scots furlongs
• Metric system: 1807 metres
• Imperial system: 1,976 yards (about 1.12 miles)

Robert Burns spoke of Scots miles in the first verse of Tam O' Shanter

"While we sit bousing at the nappy,

An' getting fou and unco happy,

We think na on the lang Scots miles,

The mosses, waters, slaps and stiles,

That lie between us and our hame,

Where sits our sulky, sullen dame,

Gathering her brows like gathering storm,

Nursing her wrath to keep it warm."

The Scots mile was longer than the English mile, but varied in length from place to place.^[23] It was formally abolished by an Act of the Parliament of Scotland in 1685,^[24] and again by the Treaty of Union with England in 1707,^[25] but continued in use as a customary unit during the 18th century. It was obsolete by the time of its final abolition by the Weights and Measures Act 1824.^[23] An estimate of its length can be made from other Scots units: in Scots, the rod was usually called the fall or faw, and was equal to six ells of 37 inches.^[26] As there are 320 rods in a mile and 1.0016 Imperial inches in a Scots inch, this would make the Scots mile equal to 5,920 Scots feet (1,976.5 imperial yards, 1.12 statute miles). Other estimates are similar.^{[18] [27]}

Irish mile[link]

The Irish mile was longer still.^[19] In Elizabethan times, four Irish miles was often equated to five English, though whether the statute mile or the "old English" mile is unclear.^[19] By the seventeenth century, it was 2,240 yards (6,720 feet, 1.27 statute miles, 2,048 metres).^[10][28][29] Again, the difference arose from a different length of the rod in Ireland (usually called the perch locally): 21 feet as opposed to 16½ feet in England.^[28][30]

From 1774, through the 1801 union with Britain, until the 1820s, the grand juries of 25 Irish counties commissioned surveyed maps at scales of one or two inches per Irish mile.^[31][32] Scottish engineer William Bald's County Mayo maps of 1809–30 were drawn in English miles and rescaled to Irish miles for printing.^[33] The Howth–Dublin Post Office extension of the London–Holyhead turnpike engineered by Thomas Telford had mileposts in English miles.^[34] Although legally abolished by the Weights and Measures Act 1824, the Irish mile was used till 1856 by the Irish Post Office.^[35] The Ordnance Survey of Ireland, from its establishment in 1824, used English miles.^[36]

In 1894, Alfred Austin complained after visiting Ireland that "the Irish mile is a fine source of confusion when distances are computed. In one county a mile means a statute mile, in another it means an Irish mile".^[37] When the Oxford English Dictionary definition of "mile" was published in 1906,^[38] it described the Irish mile as "still in rustic use".^[10] A 1902 guide says regarding milestones, "Counties Dublin, Waterford, Cork, Antrim, Down, and Armagh use English, but Donegal Irish Miles; the other counties either have both, or only one or two roads have Irish".^[39] Variation in signage persisted till the publication of standardised road traffic regulations by the Irish Free State in 1926.^[40] In 1937, a man prosecuted for driving outside the 15-mile limit of his licence offered the unsuccessful defence that, since the state was independent, the limit ought to use Irish miles, "just as no one would ever think of selling land other than as Irish acres".^[41] A 1965 proposal by two TDs to replace statute miles with Irish miles in a clause of the Road Transport Act was rejected.^[42] The term is now obsolete as a specific measure,^[43] though an "Irish mile" colloquially is a long but vague distance akin to a "country mile".^[44]

Statute mile[link]

The statute mile was so-named because it was defined by an English Act of Parliament in 1593, during the reign of Queen Elizabeth I. The statute states: "A Mile ſhall contain eight Furlongs, every Furlong forty Poles, and every Pole ſixteen Foot and a half." (35 Eliz. cap. 6.)^[45] It was thus 1760 yards (5280 feet, about 1609 metres).^[18] For surveying, the statute mile is divided into eight furlongs; each furlong into ten chains; each chain into four rods (also known as poles or perches); and each rod into 25 links. This makes the rod equal to 5½ yards or 16½ feet in both Imperial and US usage.

The exact conversion of the mile to SI units depends on which definition of the yard is used. Different English-speaking countries maintained independent physical standards for the yard that were found to differ by small, but measurable, amounts and even to slowly shorten in length.^[46] The US redefined the US yard in 1893, but this resulted in US and Imperial measures of distance having very slightly different lengths. The difference was resolved in 1959 with the definition of the international yard in terms of the metre by Australia, Canada, New Zealand, South Africa, the UK and the US.^[47] The "international mile" of 1760 international yards is exactly 1609.344 metres.^[48]

The difference from the previous standards was 2 ppm, or about 3.2 millimetres (⅛ inch) per mile. The US standard was slightly longer and the old Imperial standards had been slightly shorter than the international mile. When the international mile was introduced in English-speaking countries, the basic geodetic datum in North America was the North American Datum of 1927 (NAD27). This had been constructed by triangulation based on the definition of the foot in the Mendenhall Order of 1893, with 1 foot = ¹²⁰⁰⁄₃₉₃₇ metres and the definition was retained for data derived from NAD27, but renamed the US survey foot to distinguish it from the international foot.^[49]

The US survey mile is 5280 survey feet, or about 1609.347 218 694 metres.^[50] In the US, statute mile formally refers to the survey mile,^[51] but for most purposes, the difference between the survey mile and the international mile is insignificant—one international mile is exactly 0.999 998 of a US survey mile—so statute mile can be used for either. But in some cases, such as in the US State Plane Coordinate Systems (SPCSs), which can stretch over hundreds of miles,^[52] the accumulated difference can be significant, so it is important to note that the reference is to the US survey mile.

The North American Datum of 1983 (NAD83), which replaced the NAD27, is defined in metres. State Plane Coordinate Systems were then updated, but the National Geodetic Survey left individual states to decide which (if any) definition of the foot they would use. All State Plane Coordinate Systems are defined in metres, and 42 of the 50 states only use the metre-based State Plane Coordinate Systems. However, eight states also have State Plane Coordinate Systems defined in feet, seven of them in US Survey feet and one in international feet.^[52] State legislation in the US is important for determining which conversion factor from the metric datum is to be used for land surveying and real estate transactions, even though the difference (2 ppm) is hardly significant, given the precision of normal surveying measurements over short distances (usually much less than a mile). Twenty-four states have legislated that surveying measures be based on the US survey foot, eight have legislated that they be based on the international foot, and eighteen have not specified which conversion factor to use.^[52]

The old Imperial value of the yard was used in converting measurements to metric values in India in a 1976 Act of the Indian Parliament.^[53] However, The current National Topographic Database of the Survey of India is based on the metric WGS-84 datum,^[54] which is also used by the Global Positioning System.

Metric mile[link]

The term metric mile is used in sports such as track and field athletics and speed skating to denote a distance of 1500 metres (about 4921 ft). In United States high school competition, the term is sometimes used for a race of 1,600 metres (about 5249 ft).^[55]

Nautical mile[link]

On the utility of the nautical mile
Each circle shown is a great circle– the analog of a line in spherical trigonometry– and hence the shortest path connecting two points on the globular surface. Meridians are great circles that pass through the poles.

The nautical mile was originally defined as one minute of arc along a meridian of the Earth.^[56] Navigators use dividers to step off the distance between two points on the navigational chart, then place the open dividers against the minutes-of-latitude scale at the edge of the chart, and read off the distance in nautical miles.^[57] The Earth is not perfectly spherical but an oblate spheroid, so the length of a minute of latitude increases by 1% from the equator to the poles. Using the WGS84 ellipsoid, the commonly accepted Earth model for many purposes today, one minute of latitude at the WGS84 equator is 6,046 feet and at the poles is 6,107.5 feet. The average is about 6,076 feet (about 1,852 metres or 1.15 statute miles).

In the United States the nautical mile was defined in the 19th century as 6,080.2 feet (1,853.249 m), whereas in the United Kingdom, the Admiralty nautical mile was defined as 6,080 feet (1,853.184 m) and was about one minute of latitude in the latitudes of the south of the UK. Other nations had different definitions of the nautical mile, but it is now internationally defined to be exactly 1,852 metres.^[58]

Related nautical units[link]

The nautical mile per hour is known as the knot. Nautical miles and knots are almost universally used for aeronautical and maritime navigation, because of their relationship with degrees and minutes of latitude and the convenience of using the latitude scale on a map for distance measuring.

The data mile is used in radar-related subjects and is equal to 6,000 feet (1.8288 kilometres).^[59] The radar mile is a unit of time (in the same way that the light year is a unit of distance), equal to the time required for a radar pulse to travel a distance of two miles (one mile each way). Thus, the radar statute mile is 10.8 μs and the radar nautical mile is 12.4 μs.^[60]

Abbreviation and symbol[link]

There have been several abbreviations for mile (with and without trailing period): mi, ml, m, M. In the United States, the National Institute of Standards and Technology now uses and recommends mi,^[61] which avoids confusion with metres, millilitres, etc., but in everyday usage (at least in the United States, United Kingdom, and Canada), units such as miles per hour and miles per gallon are almost always abbreviated as mph or mpg (rather than mi/h or mi/gal).

Grid system[link]

Cities in the continental United States often have streets laid out by miles. Detroit, Indianapolis, Chicago, Phoenix, Philadelphia, Las Vegas, Los Angeles, and Miami, are several examples. Typically the largest streets are about a mile apart, with others at half-mile and quarter-mile intervals.^{[citation needed]} In the Manhattan borough of New York City "streets" are close to 20 per mile, while the major numbered "avenues" are about six per mile. (Centerline to centerline, 42nd St to 22nd St is supposed to be 5250 feet while 42nd to 62nd is supposed to be 5276 ft 8 in.)^{[citation needed]}

Idioms[link]

Even in English-speaking countries that have moved from the Imperial to the metric system (for example, Australia, Canada, and New Zealand), the mile is still used in a variety of idioms. These include:

• A country mile is used colloquially to denote a very long distance.
• "A miss is as good as a mile" (failure by a narrow margin is no better than any other failure)
• "Give him an inch and he'll take a mile" - a corruption of "Give him an inch and he'll take an ell" ^[62][63] (the person in question will become greedy if shown generosity)
• "Missed by a mile" (missed by a wide margin)
• "Talk a mile a minute" (speak at a rapid rate)
• "To go the extra mile" (to put in extra effort)
• "Miles away" (lost in thought, or daydreaming)
• "Milestone" (an event indicating significant progress)

See also[link]

Science portal

This article's lead section may not adequately summarize its contents. Please consider expanding the lead to provide an accessible overview of the article's key points. (March 2012)

Miles Davis
Photo of Davis in 1955 taken by Tom Palumbo
Background information
Birth name	Miles Dewey Davis III
Born	(1926-05-26)May 26, 1926 Alton, Illinois, United States
Died	September 28, 1991(1991-09-28) (aged 65) Santa Monica, California, United States
Genres	Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk, jazz rap[1][2]
Occupations	Bandleader, composer, trumpeter, artist
Instruments	Trumpet, flugelhorn, piano, organ
Years active	1944–1975, 1980–1991
Labels	Capitol Jazz/EMI, Columbia/CBS, Warner Bros.
Associated acts	Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans
Website	www.milesdavis.com

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century,^[3] Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.

Biography[link]

Early life (1926–44)[link]

Miles Dewey Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.

Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato.^[4] Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything."^[5] Clark Terry was another important early influence.^{[citation needed]}

By age 16, Davis was a member of the music society and playing professionally when not at school. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis' mother insisted that he finish his final year of high school. He graduated from East St. Louis Lincoln High School in 1944.

In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson, was out sick. Even after this experience, once Eckstine's band left town, Davis' parents were still keen for him to continue formal academic studies.

New York and the bebop years begin (1944–48)[link]

Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach, August 1947

In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music.

Upon arriving in New York, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.^[4]

Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.

Davis dropped out of Juilliard, after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. However, he also acknowledged that, while greatly improving his trumpet playing technique, Juilliard helped give him a grounding in music theory that would prove valuable in later years.

Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group. This was the first of many recordings to which Davis contributed in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers.^[6] In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947.

Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his quintet, which also featured Max Roach on drums, Al Haig (replaced later by Sir Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass.

Coleman Hawkins and Miles Davis, ca. September 1947

With Parker's quintet, Davis went into the studio several times, already showing hints of the style for which he would become known. On an oft-quoted take of Parker's signature song, "Now's the Time", Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that would follow. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York.^[7] In 1948, Parker returned to New York, and Davis rejoined his group.

Miles Davis on piano with Howard McGhee and Brick Fleagle, September 1947

The relationships within the quintet, however, were growing tense. Parker's erratic behavior (attributable to his well-known drug addiction) and artistic choices (both Davis and Roach objected to having Duke Jordan as a pianist^[4] and would have preferred Bud Powell) became sources of friction. In December 1948, disputes over money (Davis claims he was not being paid) began to strain their relationship even further. Davis finally left the group following a confrontation with Parker at the Royal Roost.

For Davis, his departure from Parker's group marked the beginning of a period in which he worked mainly as a freelancer and as a sideman in some of the most important combos on the New York jazz scene.

Birth of the Cool (1948–49)[link]

In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers such as Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band" moniker that was to be associated with the combo).

Davis took an active role in the project,^[8] so much so that it soon became "his project". The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations.

The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". It was, in fact, so unusual that Davis had to persuade the Roost's manager, Ralph Watkins, to allow the sign to be worded in this way; he prevailed only with the help of Monte Kay, the club's artistic director.

The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording

The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebuffed their criticisms.^[9]

A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the "cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis' group.

For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.^[4]

The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by Davis, who claimed the invention of the cool style and resented the success that was later enjoyed—in large part because of the media's attention—by white "cool jazz" musicians (Mulligan and Dave Brubeck in particular).

This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that would bear important results in the years to follow.

Hard bop and the "Blue Period" (1950–54)[link]

The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco.

Many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in France, but Davis decided to return to New York. Back in the States, he began to feel deeply depressed. The depression was due in part to his separation from Gréco, in part to his feeling underappreciated by the critics (who were hailing Davis' former collaborators as leaders of the cool jazz movement), and in part to the unraveling of his liaison with a former St. Louis schoolmate who was living with him in New York and with whom he had two children.

These are the factors to which Davis traces a heroin habit that deeply affected him for the next four years. Though Davis denies it in his autobiography, it is also likely that the environment in which he was living played a role. Most of Davis' associates at the time, some of them perhaps in imitation of Charlie Parker, had drug addictions of their own (among them, sax players Sonny Rollins and Dexter Gordon, trumpeters Fats Navarro and Freddie Webster, and drummer Art Blakey). For the next four years, Davis supported his habit partly with his music and partly by living the life of a hustler.^[10] By 1953, his drug addiction was beginning to impair his ability to perform. Heroin had killed some of his friends (Navarro and Freddie Webster). He himself had been arrested for drug possession while on tour in Los Angeles, and his drug habit had been made public in a devastating interview that Cab Calloway gave to Down Beat.^[11]

Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954 after returning to his father's home in St. Louis for several months and literally locking himself in a room until he had gone through a painful withdrawal. During this period he avoided New York and played mostly in Detroit and other midwestern towns, where drugs were then harder to come by. A widely-related story, attributed to Richard (Prophet) Jennings^[12][13] was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.^[14]

Despite all the personal turmoil, the 1950–54 period was actually quite fruitful for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.^[15]

In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis' style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that grew to be his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound was to become so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis.

The most important Prestige recordings of this period (Dig, Blue Haze, Bags' Groove, Miles Davis and the Modern Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis' recovery from his addiction. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album.

With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues.^[16] A few critics^[5] go as far as to call Walkin' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time (and of course many of them recorded or played with Davis).

Also in this period Davis gained a reputation for being distant, cold, and withdrawn and for having a quick temper. Among the several factors that contributed to this reputation were his contempt for the critics and specialized press and some well-publicized confrontations with the public and with fellow musicians. (One occasion, in which he had a near fight with Thelonious Monk during the recording of Bags' Groove, received wide exposure in the specialized press.)^[17]

The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice,^[18] earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.^[19]

First great quintet and sextet (1955–58)[link]

Back in New York and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.

None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian "Cannonball" Adderley.

The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes.^[20] The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading figure on the musical scene, contrasted by playing high-energy solos.

With the new formation also came a new recording contract. In Newport, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received 'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album. The records became almost instant classics and were instrumental in establishing Davis' quintet as one of the best on the jazz scene.

The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians.^[21] Davis played some gigs at the Cafe Bohemia with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's film Ascenseur pour l'échafaud. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising.

Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis recorded Milestones, an album anticipating the new directions he was preparing to give to his music.

Almost immediately after the recording of Milestones, Davis fired Garland and, shortly afterward, Jones, again for behavioral problems; he replaced them with Bill Evans——a young white pianist with a strong classical background——and drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the sextet performed and toured extensively and produced a record (1958 Miles, also known as 58 Sessions). Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.

Recordings with Gil Evans (1957–63)[link]

In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well as trumpet. The first, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's "The Duke," as well as Léo Delibes's "The Maids of Cadiz," the first piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the different tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.^[22]

In 1958, Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites.^{[citation needed]}

Sketches of Spain (1959–1960) featured songs by contemporary Spanish composer Joaquin Rodrigo and also Manuel de Falla, as well as Gil Evans originals with a Spanish flavor. Miles Davis at Carnegie Hall (1961) includes Rodrigo's Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans' direction.

Sessions with Davis and Evans in 1962 resulted in the album Quiet Nights, a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company; Davis blamed producer Teo Macero, whom he didn't speak to for more than two years.^[23] This was the last time Evans and Davis made a full album together; despite the professional separation, however, Davis noted later that "my best friend is Gil Evans."^[24]

[edit] Kind of Blue (1959–64)

In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans' piano style.^[25] Both Davis and Evans were personally acquainted with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956.^[26] Davis, however, had neglected to inform current pianist Kelly of Evans' role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album.^[27] "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven to be both highly popular and enormously influential. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certified as quadruple platinum (4 million copies sold). .^[28]In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.^[29][30]

The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis Jazz Studies Program."^[31]

In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on."^[32] Davis explained that he worked at the nightclub and refused to move.^[33] The officer said that he would arrest Davis and grabbed him as Davis protected himself.^[32] Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation.^[32] Two nearby detectives held the crowd back as a third detective, Don Rolker, approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head.^[32] Davis attempted to pursue the case in the courts, before eventually dropping the proceedings in a plea bargain in order to recover his suspended Cabaret Card, enabling him to return to work in New York clubs.

Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis' 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in Olympia, Paris (where Davis and Coltrane had played a few months before) and the Live in Stockholm album.

In 1963, Davis' longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven.

The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be traced through the Seven Steps to Heaven album, In Europe (July 1963), My Funny Valentine (February 1964), and Four and More (also February 1964). The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed.

Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this configuration can be heard on Miles in Tokyo! (July 1964).

By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the quintet. Shorter became the group's principal composer, and some of his compositions of this era (including "Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first official recording, Miles in Berlin (September 1964). On returning to the United States later that year, ever the musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting The Byrds signed to Columbia Records.^{[citation needed]}

Second great quintet (1964–68)[link]

"Petits Machins (Little Stuff)" noicon Issued on his 1968 album Filles de Kilimanjaro, the composition exemplfies Davis's transition from the post-bop style to fusion sounds and textures.[34] Problems listening to this file? See media help.

By the time of E.S.P. (1965), Davis's lineup consisted of Wayne Shorter, Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). The last of his acoustic bands, this group is often referred to as the second great quintet.

A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965, released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. It is reasonable to point out, though, that while some of the titles remain the same as the tunes employed by the 1950s quintet, the speed and distance of departure from the framework of the standards bears no comparison. It could even be said that the listening experience to these standards as live performances is as much of a radical take on the jazz of the time as the new compositions of the studio albums listed below.

The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, first appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the USA and Europe in 1982. It was followed by a series of studio recordings: Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). The quintet's approach to improvisation came to be known as "time no changes" or "freebop," because they abandoned the more conventional chord-change-based approach of bebop for a modal approach. Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to perform in this way until his retirement in 1975.

Miles in the Sky and Filles de Kilimanjaro, on which electric bass, electric piano, and electric guitar were tentatively introduced on some tracks, pointed the way to the subsequent fusion phase of Davis's career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de Kilimanjaro had been recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock would occasionally contribute to future recording sessions. Davis soon began to take over the compositional duties of his sidemen.

Electric Miles (1968–75)[link]

Davis's influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix,^[36] many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette.

Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an occasional standard.^{[citation needed]}

In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally."^[37] His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music."^[38][39] Both Bitches Brew and In a Silent Way feature "extended" (more than 20 minutes each) compositions that were never actually "played straight through" by the musicians in the studio.^{[citation needed]} Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques.^[40] Both records, especially Bitches Brew, proved to be big sellers. Starting with Bitches Brew, Davis's albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, Grateful Dead, Neil Young, and Santana^{[citation needed]}. Several live albums were recorded during the early 1970s at these performances: Live at the Fillmore East, March 7, 1970: It's About That Time (March 1970), Black Beauty (April 1970), and Miles Davis at Fillmore: Live at the Fillmore East (June 1970).^[36]

By the time of Live-Evil in December 1970, Davis's ensemble had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and Michael Henderson, often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970.^{[citation needed]} In 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis's own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him.^{[citation needed]} The resulting album, 1971's A Tribute to Jack Johnson, contained two long pieces that featured musicians (some of whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971.

As Davis stated in his autobiography, he wanted to make music for the young African-American audience. On the Corner (1972) blended funk elements with the traditional jazz styles he had played his entire career. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album was not promoted by the "traditional" jazz radio stations.^{[citation needed]} After recording On the Corner, Davis put together a new group, with only Michael Henderson, Carlos Garnett, and percussionist Mtume returning from the previous band. It included guitarist Reggie Lucas, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was unusual in that none of the sidemen were major jazz instrumentalists; as a result, the music emphasized rhythmic density and shifting textures instead of individual solos. This group, which recorded in Philharmonic Hall for the album In Concert (1972), was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute with the band; in 1974, he was replaced by Sonny Fortune.

"Go Ahead John" noicon Pieced together in post-production for Big Fun from individual takes, the recording has a strong groove with blues and funk guitar by John McLaughlin.[41][42] Problems listening to this file? See media help.

Big Fun (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up With It (1974) collected recordings from the previous five years. Get Up With It included "He Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis's most lauded pieces from this era, "Calypso Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was available in the US; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he was to record for five years. Davis was troubled by osteoarthritis (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), and his performances were routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February 1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his trumpet playing "is of the highest and most adventurous order."^{[citation needed]}

After a Newport Jazz Festival performance at Avery Fisher Hall in New York on July 1, 1975, Davis withdrew almost completely from the public eye for six years. As Gil Evans said, "His organism is tired. And after all the music he's contributed for 35 years, he needs a rest."^{[citation needed]} In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as a hermit, his house as a wreck, and detailing his drug and sex addictions.^[4] In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, Davis's musical descendants would be in the realm of New Wave rock, and in particular the styling of Prince.

Last decade (1981–91)[link]

Miles Davis at the Nice Jazz Festival in July 1989

By 1979, Davis had rekindled his relationship with actress Cicely Tyson. With Tyson, Davis would overcome his cocaine addiction and regain his enthusiasm for music. As he had not played trumpet for the better part of three years, regaining his famed embouchure proved to be particularly arduous. While recording The Man with the Horn (sessions were spread sporadically over 1979–1981), Davis played mostly wahwah with a younger, larger band.

The initial large band was eventually abandoned in favor of a smaller combo featuring saxophonist Bill Evans and bass player Marcus Miller, both of whom would be among Davis's most regular collaborators throughout the decade. He married Tyson in 1981; they would divorce in 1988. The Man with the Horn was finally released in 1981 and received a poor critical reception despite selling fairly well. In May, the new band played two dates as part of the Newport Jazz Festival. The concerts, as well as the live recording We Want Miles from the ensuing tour, received positive reviews.

Miles Davis at North Sea Jazz Festival in 1987

By late 1982, Davis's band included French percussionist Mino Cinelu and guitarist John Scofield, with whom he worked closely on the album Star People. In mid-1983, while working on the tracks for Decoy, an album mixing soul music and electronica that was released in 1984, Davis brought in producer, composer and keyboardist Robert Irving III, who had earlier collaborated with him on The Man with the Horn. With a seven-piece band, including Scofield, Evans, keyboardist and music director Irving, drummer Al Foster and bassist Darryl Jones (later of The Rolling Stones), Davis played a series of European gigs to positive receptions. While in Europe, he took part in the recording of Aura, an orchestral tribute to Davis composed by Danish trumpeter Palle Mikkelborg.

You're Under Arrest, Davis's next album, was released in 1985 and included another brief stylistic detour. Included on the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and "Human Nature" from Michael Jackson. Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was scrapped. Davis noted that many of today's accepted jazz standards were in fact pop songs from Broadway theater, and that he was simply updating the "standards" repertoire with new material. 1985 also saw Davis guest-star on the TV show Miami Vice as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" (first aired November 8, 1985).^[43]

Davis in New York, 1985.

You're Under Arrest also proved to be Davis's final album for Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis's more recent fusion recordings as not being "'true' jazz", comments Davis initially shrugged off, calling Marsalis "a nice young man, only confused". This changed after Marsalis appeared, unannounced, onstage in the midst of Davis's performance at the inaugural Vancouver International Jazz Festival in 1986. Marsalis whispered into Davis's ear that "someone" had told him to do so; Davis responded by ordering him off the stage.^[44]

Davis grew irritated at Columbia's delay releasing Aura. The breaking point in the label-artist relationship appears to have come when a Columbia jazz producer requested Davis place a goodwill birthday call to Marsalis. Davis signed with Warner Bros. Records shortly thereafter.

Davis collaborated with a number of figures from the British new wave movement during this period, including Scritti Politti.^[45] At the invitation of producer Bill Laswell, Davis recorded some trumpet parts during sessions for Public Image Ltd.'s Album, according to Public Image's John Lydon in the liner notes of their Plastic Box box set. In Lydon's words, however, "strangely enough, we didn't use (his contributions)." (Also according to Lydon in the Plastic Box notes, Davis favorably compared Lydon's singing voice to his trumpet sound.)^[46]

Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio tools—programmed synthesizers, samples and drum loops—to create an entirely new setting for his playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987.

The grave of Miles Davis in Woodlawn Cemetery

He followed Tutu with Amandla, another collaboration with Miller and George Duke, plus the soundtracks to four movies: Street Smart, Siesta, The Hot Spot (with bluesman John Lee Hooker), and Dingo. He continued to tour with a band of constantly rotating personnel and a critical stock at a level higher than it had been for 15 years. His last recordings, both released posthumously, were the hip hop-influenced studio album Doo-Bop and Miles & Quincy Live at Montreux, a collaboration with Quincy Jones for the 1991 Montreux Jazz Festival in which Davis performed the repertoire from his 1940s and 1950s recordings for the first time in decades.

In 1988 he had a small part as a street musician in the film Scrooged, starring Bill Murray. In 1989, Davis was interviewed on 60 Minutes by Harry Reasoner. Davis received the Grammy Lifetime Achievement Award in 1990.

In early 1991, he appeared in the Rolf de Heer film Dingo as a jazz musician. In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned locals. The performance was one of Davis's last on film.

Miles Davis died on September 28, 1991 from the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65.^[36] He is buried in Woodlawn Cemetery in The Bronx.^[47]

Legacy and influence[link]

Statue in Kielce, Poland

Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of music. He has been described as “one of the great innovators in jazz”.^[48] The Rolling Stone Encyclopedia of Rock & Roll noted "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music".^[49] His album Kind of Blue is the best-selling album in the history of jazz music. On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the United States House of Representatives to recognize and commemorate the album on its 50th anniversary. The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music."^[50] It passed, unanimously, with a vote of 409–0 on December 15, 2009.^[51]

Many well-known musicians rose to prominence as members of Davis's ensembles, including saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, Keith Jarrett and Kei Akagi; guitarists John McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster.^{[citation needed]}

As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. These include Wayne Shorter,^[52] Cannonball Adderley,^[53] Herbie Hancock,^[54] Cassandra Wilson,^[55] Lalo Schifrin,^[56] Tangerine Dream,^[57] Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Sugizo, Bill Evans, Bill Hardman, The Lounge Lizards, Hugh Masekela, John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Nile Rodgers, Duane Allman, Pink Floyd, Neil Young, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting,^[58] Lonnie Liston Smith, Jiří Stivín, Tim Hagans, Julie Christensen, Jerry Garcia, David Grisman, Vassar Clements, Snooky Young, Prince, and Christian Scott.

Miles' influence on the people who played with him has been described by music writer and author Christopher Smith as follows:

Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary. [...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance.

His approach, owing largely to the African American performance tradition that focused on individual expression, emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz musicians.^[59]

In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music.^[60] Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. In 2010, Moldejazz premiered a play called Driving Miles, which focused on a landmark concert Davis performed in Molde, Norway, in 1984.

Awards[link]

• Winner; Down Beat Reader's Poll Best Trumpet Player 1955
• Winner; Down Beat Reader's Poll Best Trumpet Player 1957
• Winner; Down Beat Reader's Poll Best Trumpet Player 1961
• Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for Sketches of Spain (1960)
• Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for Bitches Brew (1970)
• Grammy Award for Best Jazz Instrumental Performance, Soloist for We Want Miles (1982)
• Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark)
• Doctor of Music, honoris causa (1986; New England Conservatory)
• Grammy Award for Best Jazz Instrumental Performance, Soloist for Tutu (1986)
• Grammy Award for Best Jazz Instrumental Performance, Soloist for Aura (1989)
• Grammy Award for Best Jazz Instrumental Performance, Big Band for Aura (1989)
• Grammy Lifetime Achievement Award (1990)
• Australian Film Institute Award for Best Original Music Score for Dingo, shared with Michel Legrand (1991)
• Knighted into the Legion of Honor (July 16, 1991; Paris)
• Grammy Award for Best R&B Instrumental Performance for Doo-Bop (1992)
• Grammy Award for Best Large Jazz Ensemble Performance for Miles & Quincy Live at Montreux (1993)
• Hollywood Walk of Fame Star (February 19, 1998)
• Rock and Roll Hall of Fame Induction (March 13, 2006)
• Hollywood's Rockwalk Induction (September 28, 2006)
• RIAA Quadruple Platinum for Kind of Blue
• St. Louis Walk of Fame

Discography[link]

Miles Davis portal

Filmography[link]

^a Only one song is composed by Miles Davis in cooperation with Marcus Miller ("Theme For Augustine").
^b Soundtrack is composed by Miles Davis in cooperation with Michel Legrand.

References[link]

Bibliography[link]

External links[link]

Wikiquote has a collection of quotations related to: Miles Davis

Wikimedia Commons has media related to: Miles Davis

• Miles Davis at Find A Grave
• Miles Davis – official website.
• Miles Davis – official Sony Music website.
• Miles Davis at Allmusic
• Miles Davis collected news and commentary at The New York Times
• Miles Davis collected news and commentary at The Guardian
• Works by or about Miles Davis in libraries (WorldCat catalog)
• Miles Davis's '70s: The Excitement! The Terror! — Robert Christgau, The Village Voice

Miles Kane
Kane perfoming at the Hoxton Square Bar & Kitchen in 2011
Background information
Birth name	Miles Kane
Born	(1986-03-17) 17 March 1986 (age 26) The Wirral, Merseyside, England
Genres	Indie rock, garage rock, Britpop, psychedelic rock, baroque pop, post-punk revival
Occupations	Musician, songwriter
Instruments	Guitar, vocals
Years active	2004–Present
Labels	Columbia Records UK (Solo Career) Domino (Last Shadow Puppets)
Associated acts	The Little Flames, The Rascals, The Last Shadow Puppets, Arctic Monkeys, Alex Turner, Eugene McGuinness
Website	mileskane.com
Notable instruments
Gibson ES Fender Jaguar Fender Telecaster Gibson J-45

Miles Kane (born 17 March 1986) is an English musician originally from Meols on the Wirral, best known as the co-frontman of The Last Shadow Puppets and former frontman of The Rascals. He was formerly the vocalist and lead guitarist for The Rascals, but announced the band's break-up in August 2009. ^[1]

He is currently pursuing a solo career, and continues to be a part of his side-project The Last Shadow Puppets. His debut solo album, Colour of the Trap, was released on 9 May 2011.

The Little Flames[link]

Aged 18, Kane joined The Little Flames later in 2008 as guitarist alongside Eva Petersen (Vocals), Greg Mighall (Drums), Joe Edwards (Bass) and Matt Gregory (Guitar) in December 2004. The band went on to be vaguely successful, achieving comparisons to The Coral and high profile fans such as the Arctic Monkeys. They also went on to tour with bands like The Coral, The Zutons, The Dead 60s and Arctic Monkeys. However, the band decided to go their separate ways.

The Rascals[link]

Kane, on vocals and lead guitar, was joined by Greg Mighall on drums and Joe Edwards on bass guitar and occasional backing vocals. Kane took on the main songwriting duties for the band. The band, who have known each other from childhood, continued where The Little Flames left off; they signed with Deltasonic Records again, only with fewer members this time. They were adamant to keep their own distinct sound of 'awesome rockin beats' with a 'psychedelic quirk' and a 'compelling and unique dark underlying spirit'¹. They released their debut EP in December 2007, just 7 months after they got together. Entitled Out of Dreams it featured 4 tracks, but did not achieve chart success. Yet they soon became tipped to be one of the bands of 2008, championed in particular by NME, following a well received support slot on Arctic Monkeys' 2007 tour. Their first album 'Rascalize' was released on 23 June 2008. The Rascals have a small role in the film Awaydays playing an Echo & the Bunnymen cover. Miles also has several lines such as "Sorry, I have to help the guys with the gear."

The Last Shadow Puppets[link]

Whilst touring with the Arctic Monkeys, Kane developed a strong friendship with front man Alex Turner. They shared a love of the same musical influences, such as Nick Cave. The pair began to play together backstage, and soon began writing new tracks. They realized that there was a future in their songwriting partnership, and the Last Shadow Puppets were born.

The duo decided to travel to the West Coast of France with producer James Ford where they recorded their debut album The Age of the Understatement in just two weeks. Their album went straight to number 1 in the UK Album Charts with the single of the same name reaching number 1 in the Indie Single Charts, and subsequent singles also reaching high spots. They first played together live in the UK, doing a secret set at Glastonbury with a special guest appearance from Jack White, whom Kane lent his iPod to so White could learn the solo. The band's album narrowly missed out on the Nationwide Mercury Music Prize, but thus far they have won the Mojo Breakthrough Award, and have also been nominated for various other accolades.

Solo career[link]

In early 2009, after his last tour with The Rascals, Kane left the band to focus on a solo career. Inspired by a classic, smart 60s Mod theme he signed with Columbia Records^[2] and began recording his solo album with Dan Carey and Dan the Automator, who had previously worked with Gorillaz and Kasabian.^[3]

Kane's debut single, "Inhaler" was released on 22 November 2010, and he did a series of solo shows throughout November, as well as supporting The Courteeners at several shows in December. He then continued solo performances in January and February, before supporting Beady Eye at eight shows in March.^[4] Kane released another single, "Come Closer" on 20 February 2011, reaching #85 on the UK Singles Chart.^[5]

"Rearrange", the lead single for his debut album, was released on 27 March 2011 and reached #149 on the UK Singles Chart.^[6] The album, titled Colour of the Trap, was released on 9 May 2011.^[7][8] One track, "My Fantasy" features backing vocals from Noel Gallagher,^[9] while another, "Happenstance" is a duet between Kane and French actress Clémence Poésy.^[10] Half of the tracks on the album were co-written by Alex Turner, Kane's partner in The Last Shadow Puppets.

Kane supported Arctic Monkeys for two shows in Sheffield in June 2011. As well as being their support act on their Australian tour of January 2012. ^[11]

It was also announced on the 19th of October 2011 that Kane is to support Kasabian on their UK tour in December 2011.

Band members[link]

The live band include Ben Parsons, Phil Anderson, Jay Sharrock (whose father is Chris Sharrock, former The Icicle Works, The La's, Robbie Williams and Oasis (2008–2009) drummer and the current drummer in Beady Eye) and George Moran. Singer-songwriter, Eugene McGuinness was formerly a member. He left the band to continue with his own career.

• Jay Sharrock – drums
• Ben Parsons – keyboards
• Phill Anderson – bass guitar
• George Moran – rhythm guitar/vocals

Former Members

• Eugene McGuinness – vocals/rhythm guitar^[12]

Discography[link]

Note: This only includes artist's solo career, not other projects such as The Last Shadow Puppets or The Rascals.

Studio Albums[link]